20141221 program note

演出曲目

Program

陳銀淑（b. 1961）：大提琴協奏曲

UNSUK CHIN (b. 1961): Cello Concerto

I. II.

I. 'Aniri' II. ‫=ݛ‬c80 III. =c50 IV. ‫=ݜ‬c144

〈Aniri〉 ‫=ݛ‬約80

III.

=約50

IV.

‫=ݜ‬約144

~中場休息~

安東尼•德沃札克（1841-1904）：《捷克組曲》 I. II. III. IV.

前奏曲（田園曲）：有節制的快板

V.

終曲（富瑞安特舞曲）：急板

波卡舞曲：優雅的小快板 索塞卡舞曲（小步舞曲）：適度的快板 浪漫曲：稍快的行板

貝多伊齊•史麥塔納（1824-1884）： 〈莫爾道河〉、〈薩爾卡〉，選自《我的祖國》

演出時間│ 2014年12月21日 (星期日) 7:30 PM

~Intermission~

ANTONÍN DVOŘÁK (1841-1904): Czech Suite, Op. 39 I.

Preludium (Pastorale): Allegro moderato

II.

Polka: Allegretto grazioso

III. Sousedská (Minuetto): Allegro giusto IV. Romance: Andante con moto V.

Finale (Furiant): Presto

BEDŘICH SMETANA (1824-1884): ‘Vltava’ and ‘Sárka’ from Má Vlast

演出者

指 揮│呂紹嘉 Shao-Chia Lü, conductor 大提琴│阿爾班•蓋哈特 Alban Gerhardt, cello

演出地點│ 國家音樂廳 National Concert Hall, Taipei

國家交響樂團 National Symphony Orchestra (NSO) 特別感謝│

主辦單位│ 指定住宿│

演出長度│上半場約30分鐘，下半場約45分鐘

1︱我的祖國

歡 迎

Welcome

「國家表演藝術中心」於 2014 年四月 成立，本中心所屬單位包括臺北的國家兩廳 院、臺中國家歌劇院、高雄的衛武營國家藝 術文化中心及國家交響樂團。期盼這北中南 串連起來的平臺成為大家所愛的表演藝術大 家庭。誠摯地歡迎您來一同參與！

The National Performing Arts Center opened in April, 2014. Our Center, which embodies the National Theater & Concert Hall in Taipei, the National Taichung Theater, the National Kaohsiung Center for the Arts and the National Symphony Orchestra, is dedicated to providing a platform for the performing arts connecting the whole of Taiwan.

We welcome you to become part of our performing arts family.

國家表演藝術中心董事長

Chairman, National Performing Arts Center

親愛的愛樂朋友：

演出者介紹 指揮│呂紹嘉

Shao-Chia Lü

「呂紹嘉是表達音樂意境之大 師，也是一位才華卓絕的指 揮。」 －《南德意志報》

“The conductor Shao-Chia Lü is a master of nuance."

— Süddeutsche Zeitung Taiwan-born conductor Shao-Chia Lü studied music in Taipei, later at the Indiana University in Bloomington, USA, and also at the College of Music Vienna. His training was topped off with three important first prizes at renowned international conductor competitions: Besancon (France), Pedrotti (Italy) and Kondrashin (the Netherlands).

Sh a o - C h i a Lü t o o k t h e p o s i t i o n o f Ge n e r a l Music Director of the Koblenz Theatre(1998-2001), t h e St a a t s o r c h e s t e r R h e i n i s c h e P h i l h a r m o n i e Koblenz(1998-2004), and the Staatsoper Hannover between (2001- 2006).

Shao-Chia Lü appears regularly as guest-conductor at several world renowned opera houses, including the Opera Australian in Sydney and Melbourne, the English National Opera, the Theatre de la Monnaie in Brussels, Den Norske Opera in Oslo, the Gothenburg Opera, the Oper Frankfurt, Staatsoper Hamburg and Stuttgart, the Deutsche Oper and Komische Oper Berlin.

Alongside his opera activities, Lü is equally at home on concert podiums. Lü has worked repeatedly with many leading European orchestras, such as the Oslo Philharmonic, the Orchestra Sinfonica di Santa Cecilia Rome, the Norwegian and Swedish Radio Orchestra, the Helsinki Philharmonic Orchestra, the Royal Liverpool Philharmonic, the Orchestre National de France, the SWR Stuttgart, the Rundfunksinfonieorchster Berlin, the Goteborg Sinfoniker, the Staatskapelle Weimar, the Frankfurter Museumsorchester and the Royal Concertgebouw Orchestra in Amsterdam. In Asia, Lu has worked with Hong Kong, NHK, New Japan Philharmonic and leading orchestras in China.

Shao-Chia Lü has been Music Director of the Taiwan Philharmonic (the National Symphony Orchestra of Taiwan) since August 2010 and the Principal Conductor of the South Denmark Philharmonic starting 2014.

出身台灣，為享譽國際樂壇 的旅歐名指揮家。自鋼琴啟蒙， 後隨陳秋盛研習指揮，繼而赴美 印第安那大學及維也納國立音樂院深造。在贏 得法國貝桑頌、義大利佩卓地和荷蘭孔德拉辛 三大國際指揮大賽首獎後，展開了他在歐洲的 指揮生涯。 旅居德國期間先後擔任柏林喜歌劇院首席駐 團指揮（ 1995-1998 ）、德國柯布倫茲市立歌劇 院音樂總監（ 1998-2001 ）、德國國家萊茵愛樂 交響樂團音樂總監（ 1998-2004 ）、德國漢諾威 國家歌劇院音樂總監（ 2001-2006 ），並於 2004 年 5 月獲文化部長頒贈象徵該省文化最高榮譽的 Peter Cornelius獎章。 在歌劇的領域中，曾於英國國家歌劇院、布 魯塞爾皇家歌劇院、雪梨歌劇院、德國司徒加 特、柏林德意志、漢堡、法蘭克福歌劇院客席登 臺指揮。歌劇外，呂紹嘉在交響樂指揮的表現也 同樣耀眼。近年來合作的主要交響樂團有：柏 林、西南德、中德、巴伐利亞廣播、法國國家、 里昂、杜魯士、史特拉斯堡、維也納廣播、英國 利物浦愛樂、奧斯陸愛樂、貝爾根愛樂、 赫爾辛 基愛樂、瑞典廣播、挪威廣播、哥特堡、羅馬聖 西西里亞、及荷蘭皇家音樂大會堂管絃樂團等。 在亞洲，與香港管弦樂團、NHK、新日本愛樂及 北京、上海等地的代表性樂團合作演出。 自 2010 年 8 月起接任 NSO 國家交響樂團音樂 總監。

2︱我的祖國

大提琴｜阿爾班．蓋哈特

Alban Gerhardt, cello

「蓋哈特德演奏柔軟靈活、色彩 豐富，並以最細緻的方式呈現音 樂。」 ─《每日電訊報》 近 10 年來，蓋哈特被認為是 當代最偉大的大提琴家之一。他 擅長超過 70 首大提琴協奏曲，喜 愛推介較不為人知的罕見作品。 2009 年，蓋哈 特於逍遙音樂會中世界首演了陳銀淑為他而作的 大提琴協奏曲；這首作品由 BBC 交響樂團委託 創作，其後他陸續在荷蘭 ( 阿姆斯特丹大提琴雙 年音樂節 ) 、德國 ( 長野健指揮巴伐利亞國家管絃 樂團、史坦茲指揮科隆愛樂樂團 ) 、亞洲 ( 首爾愛 樂 ) 、挪威 ( 奧斯陸愛樂 ) 、美國 ( 波士頓交響 ) 演出 此作品，並且將在拉圖指揮下與柏林愛樂、馬姬 指揮下與斯德哥爾摩愛樂以及柯尼西指揮葡萄牙 波多音樂廳交響樂團下共同演出。蓋哈特的唱片 錄音亦極受肯定，曾獲得 3 座德國古典回聲唱片 大獎。他為英國唱片Hyperion專屬音樂家；其布 列頓大提琴作品全集錄音，於2013年獲得留聲機 大獎提名的肯定。

“Gerhardt’s playing is supple, richly coloured and articulated with the utmost finesse” ─Daily Telegraph Over the past decade, Alban Gerhardt has established himself among the greatest cellists of our time. His repertoire includes more than 70 different cello concerti and he relishes rescuing lesser-known works from undeserved obscurity and in 2009 he gave the world premiere of Unsuk Chin’s Cello Concerto which was composed for him. Commissioned by the BBC and premiered at the Proms (his 6th appearance at the Proms) he has since performed the Concerto in the Netherlands (Amsterdam Cello Biennale), Germany (Bayerische Staatsorchester/Nagano, Gürzenich/Stenz), Far East (Seoul Philharmonic), Norway (Oslo Philharmonic) and the USA (Boston Symphony), whilst future performances include the Berlin Philharmonic Orchestra/Rattle, Royal Stockholm Philharmonic Orchestra/Mälkki and Orquestra Sinfónica do Porto Casa da Música/König.

Gerhardt is a highly acclaimed recording artist and has won three ECHO Classic Awards. He records exclusively with Hyperion and a double-CD of the complete works for cello by Benjamin Britten was shortlisted for a Gramophone Award in 2013.

樂曲解說 撰文│顏名秀（國立臺北藝術大學專任助理教授）

陳銀淑：大提琴協奏曲 韓國作曲家陳銀淑於1961年出生，她的大提 琴協奏曲是為大提琴家蓋哈特所寫，完成於20062008年，首演於2009年；於2013年修改，同年6 月再次由蓋哈特首演新版。曲長約30分鐘。 第一樂章的標題Aniri為韓國傳統戲劇Pansori （註一） 中的一個重要元素，意指穿插在歌曲之間 的敘述式旁白或對話。樂曲開頭由豎琴連續撥 奏升 G 音後，獨奏大提琴先以高大二度的長音開 展，音域漸寬，大跳漸多，極富戲劇性，而全樂 章從頭至尾一直圍繞在升 G 音的基礎上。陳銀淑 曾師事匈牙利作曲家李格替，作品受他的影響 很深，包括獨奏大提琴在第一樂章最後的即興樂 段。在這裏，大提琴家須在四條絃上快速的拉 奏，並壓絃以製造吵雜的音響，但是音高及音準 並沒有限制；在此同時，雷鳴器（thunder sheet） 轟轟作響，而絃樂漸漸近琴橋拉奏，製造出尖銳 的泛音。 除了第一樂章，其他三個樂章均無標題，只 有速度標示。相對於第一樂章圍繞在中心音升 G ，及在背景使用長音，第二樂章在「無窮動」 的快速音群襯托下，戲劇張力更大。音符在高低 音域間不停地流竄著，這是一場獨奏大提琴與管 絃樂團的爭戰。第三樂章是個慢板，管絃樂團開

頭以長音為主體，在其上建構平穩的和聲進行， 支撐獨奏大提琴時而憂鬱時而激昂的旋律線。樂 章的最後，大提琴高音泛音跟著獨奏大提琴上 行，和低音提琴及倍低音管下行的線條漸行漸 遠，以極弱的音量（ppppp）結束。第四樂章開頭 以獨奏大提琴為主，管絃樂團間歇性出現，並以 重音裝飾；中段絃樂使用綿長的滑音，配合獨奏 於高音域連綿不絕地向上移動，呈現令人難以喘 息的氛圍。 陳 銀 淑 在 接 受 B B C 音 樂 雜 誌 （ B B C Mu s i c Magazine）專訪時表示，不同於以管絃樂團為創 作基礎的鋼琴協奏曲（1996-1997）與小提琴協奏 曲（2001），這首大提琴協奏曲則是由主奏貫穿 整首作品。她形容這首協奏曲為一場大提琴與管 絃樂團間的戰爭： 「是的，這是一場心理之戰。在第一樂章， 當大提琴微弱地演奏即興式的旋律時，管絃樂團 先短暫的開戰。然後，大提琴獨奏反攻，因此兩 方糾纏了一陣子。第二樂章，管絃樂團演奏快速 又短的下行片段，而大提琴卻是演奏上行的片 斷；大提琴贏了！第三樂章平靜又抒情，這是我 認為整首作品中最和諧的樂章。第四樂章的中 段，大提琴緩慢的旋律線上行至非常高的音域。 管絃樂團加入，且試圖摧毀這個旋律線，但是大 提琴持續不停。最後大提琴生存下來了！大提琴 獲勝了！」（註二）

3︱我的祖國

註一：Pansori（pan字面上的意思是人群聚集的地方；sori則為歌之意） 發展於十八世紀初的社會低下階層，內容從日常生活中取材， 原為市集地或貴族家中的娛樂節目，於二十世紀漸漸被帶進音 樂廳。Pansori包含了歌曲（sori）、對話或旁白（aniri）及姿態 （ballim）三個要素。 註二：http://www.classical-music.com/feature/meet-artists/unsuk-chin

安東尼•德沃札克：《捷克組曲》 安東尼．德沃札克（1841-1904）是著名的捷克 作曲家。受到同是捷克作曲家史麥塔納的影響，作品 極富民族風格。當布拉姆斯尚未將他介紹給出版商 Fritz Simrock之前，他當時還沒沒無名。雖然在1878 年出版的第一套《斯拉夫舞曲》讓他一舉成名，他 和出版商Simrock的關係卻發生了嚴重的問題。德沃 札克一方面氣憤出版商將他的名字Antonín德語化為 Anton ，一方面亦不滿出版商刻意給予《斯拉夫舞 曲》較高的作品編號，以便讓人誤以為這是新作。爭 執之下，出版商拒絕出版他之後的創作。Simrock終 究還是出版了眾多德沃札克的創作，亦在 1881 年出 版了《捷克組曲》（寫於 1879 年，作品編號 39 ）， 但縱使《捷克組曲》比《斯拉夫舞曲》（寫於 1878 年，作品編號46）更晚完成，它卻有著比《斯拉夫舞 曲》還低的作品編號。即便如此，《捷克組曲》最後 還是受到極高的評價，不輸《斯拉夫舞曲》。 《捷克組曲》於 1880 年由指揮家Adolf Čech首 演。第一樂章前奏曲的副標為「田園曲」，為 D 大 調。樂曲開頭出現的兩音交替式伴奏形態，貫穿全 曲，好似微風輕拂草原，青草隨風飄逸的景象。民謠 似的旋律在絃樂與木管之間交替出現，更顯田園生活 的悠閒雅致。第二樂章波卡舞曲為2/4拍子，曲式為 複合式三段體，其中前後段為D小調，富旋律性；中 段（Trio）則轉為D大調，速度較急促。波卡舞曲起 源於十九世紀中葉的波西米亞，至今仍盛行於許多歐 洲國家及美洲。 第三樂章索塞卡舞曲為中板3/4拍子 的雙人舞，是一種波西米亞的小步舞曲，但重拍置於 第二拍。第四樂章浪漫曲為9/8拍的行板。絃樂開頭 便平穩奏出同音反覆的伴奏音型，襯托木管悠揚的旋 律。整曲平穩而優雅，三拍子的脈動貫穿全曲。第五 樂章終曲是個富瑞安特舞曲，使用快速的3/4拍子， 特色是重音偶而會置於第二拍。樂曲時而輕巧，時而 激昂，極富活力。

貝多伊齊•史麥塔納： 〈莫爾道河〉、〈薩爾卡〉，選自《我的祖國》 貝多伊齊．史麥塔納（1824-1884）為國民樂派 作曲家，被譽為捷克音樂之父。 1848 年參與奧地利 革命，更堅定了他對捷克獨立的信念。他創作了許多 富有民族色彩的作品，而他對祖國的熱愛亦絲毫不保 留地在《我的祖國》中展現。受到李斯特的影響，史 麥塔納潛心於交響詩的研究與創作。交響詩《我的祖 國》是他最被為熟知的作品之一，寫於 1874 至 1879 年之間，共包含六首獨立的交響詩。第一首〈威瑟拉

德〉、第三首〈薩爾卡〉及第五首〈塔坡爾〉旨在 回顧捷克歷史；第二首〈莫爾道河〉、第四首〈波 西米亞的森林與原野〉及第六首〈布拉尼克〉則在 描繪捷克自然風情與訴說民間傳奇。 〈莫爾道河〉寫於 1874 年，描繪同名河流貫穿 捷克時沿路的風景與人情。樂曲開頭由長笛與單簧 管呈現出泉水冒出的樣貌，之後，由小提琴帶出莫 爾道河的主題。河流進入了森林，由法國號與小號 吹奏獵角的附點節奏，同時配合絃樂如流水般上下 起伏的音階與琶音；遠處的波爾卡舞曲描繪著婚禮 喜慶。河水流入了夜裡，看見了在河畔嬉戲的精靈 們。最後，莫爾道河的主題再現，流水經過了聖約 翰峽谷，越漸湍急，奔瀉下瀑布後，最後平靜地流 向布拉格。 〈薩爾卡〉完成於 1875 年，內容來自一個關於 戰士薩爾卡的古老捷克傳說。故事中，女戰士薩爾 卡刻意將自己綁在樹上，好讓騎士Ctirad來解救，並 相信她只是個普通女子。Ctirad愛上了薩爾卡，並帶 她回營，薩爾卡則趁機在酒中下藥，迷倒了Ctirad及 他的下屬。接著，薩爾卡吹起了號角，呼叫其他的 女戰士來將Ctirad的部隊擊倒。 本中心表演藝術圖書館典藏相關節目資料，詳見http://serv.lib.ntch.org. tw/related_catalog/index.asp?q=201412，並歡迎親洽表演藝術圖書館(國 家戲劇院地下層)借閱使用。

Program Notes Unsuk Chin: Cello Concerto

By Ming-Hsiu Yen (Assistant Professor of

Composition and Theroy at

Taipei National University of the Arts in Taiwan)

Born in 1961, Korean composer Unsuk Chin wrote her cello concerto for the concert cellist Alban Gerhardt. This work was completed in 2006-2008; it was premiered in 2009. Chin revised it in 2013; this version was premiered— once again by Gerhardt—in June of the same year. Its duration is approximately thirty minutes.

‘Aniri,' the title of its first movement, is a crucial element in Pansori, a type of traditional Korean drama. 1 Aniri is the narration or dialogue that takes place between the songs in Pansori. This movement opens with a series of G-sharps in pizzicato by the harps. This is followed by the solo cello’s long notes a major 2nd higher; the music proceeds to a wider range and includes frequent leaps, which convey a dramatic aura. The entire movement revolves around G-sharp. Chin studied with the Hungarian composer György Ligeti, who had a great impact on her compositional style. Ligeti’s influence shows, in particular, in the solo cello’s improvisatory passages at the end of this movement. Here the solo cello is to produce a rather cacophonous sound by pressing the four strings in a fast tempo; the intonation of the soloist, who plays random notes, need not be precise. In the meantime, the thunder sheet creates a booming sound; the strings’ contact point is gradually turned toward the bridge, producing sharp overtones.

4︱我的祖國

The remaining three movements of this concerto have no programmatic title, but go with tempo marking instead.

Compared to the first movement, which revolves around G-sharp and has long, sustained pitches in the background, the second movement includes perpetually fast-moving notes and appears even more dramatic. With its pitches running wildly between its high and low registers, this movement displays a battle between the solo cello and the orchestra. The third movement, an Adagio movement, starts with the orchestra’s long notes. Based on these notes is stable harmonic progression, which supports the solo cello’s sometimes gloomy, sometimes agitated, melody. The movement concludes with the ascending motion of the solo cello—which is accompanied by the celli’s overtones in the high register—and the gradually fading descent of the basses and contrabassoon, presenting an extremely soft closure (in ppppp). The solo cello dominates the fourth movement’s opening, whereas the orchestra joins in sporadically and with dynamic accents. In the middle of the movement, the strings’ long, sustaining glissando complements the solo cello’s endless ascent to higher register, creating a breathless aura.

In her interview with the BBC Music Magazine, Chin remarks that, different from her piano concerto (1996-1997) and violin concerto (2001), both of which are orchestraoriented, this cello concerto is dominated by the solo instrument. She views this work as a battle between the solo cello and the orchestra: Yes – it’s a psychological battle. In the first movement there’s a short attack from the orchestra, while the cello plays a very soft light improvisation line. Then the cello solo attacks the orchestra, and they’re struggling for a while.

In the second movement, the orchestra plays fast, short downward passages, while the cello plays passages going up.

And the cello wins! The third movement is calm and lyrical, and I think it’s the only harmonic movement of the whole piece. In the middle part of the fourth movement there’s a slow melodic solo line from the cello, which goes up to the very high register. The orchestra comes in and tries to destroy this line, but the solo cello remains. It survives and wins!2 1. Developed in early 18 th-century, the genre "Pansori" was associated with the lower class. “Pan” literally means gathering place; “sori” means song. The content of pansori derives from daily life materials. Pansori was initially an entertainment in the marketplace or the household of aristocrats, and was introduced to concert hall culture in the 20th century.

Its three major elements are as follows: sori (song), aniri (dialogue or narration), and ballim (gesture).

2. http://www.classical-music.com/feature/meet-artists/unsuk-chin

Antonín Dvořák: Czech Suite, Op. 39 Dvořák started work on his Czech Suite (Ceska Suita) on 4 March 1879, while working at the same time on the String Quartet in E flat major, Opus 51. It was first performed in Prague on 16 May by the orchestra of the Czech provisional Theatre under Adolf Cech. The suite, which is scored for double woodwind, with cor anglais , pairs of horns, trumpets and timpani and strings, is a form of serenade, its outer movements establishing the key of D major. The opening Pastorale, marked Allegro moderato allows the first violin to offer a Czech melody, joined by the oboe and followed by the viola, with a continuing ostinato accompaniment. The D minor Polka has a contrasting major Trio section and this movement is followed

by a Bohemian dance, the Sousedská , the counterpart of the Minuet, introduced by the clarinet and bassoon, answered by the strings, and in the key of B flat major. There is a shift to G major as the flute, accompanied by a throbbing string accompaniment, introduces the Romance, in which the woodwind and horns have a major part to play. The suite ends with a Furiant, reinforced now by trumpet and drums and opening in D minor, to end in a cheerful D major. © 2014 Naxos Digital Services Ltd

Bedřich Smetana: ‘Vltava’ and ‘Sárka’ from Má Vlast Má Vlast (My Country) is among the best known of all Smetana's music, a cycle of six symphonic poems that conjure up the spirit of Bohemia, its history and traditions, reflected in its landscape. The period of composition was one of some difficulty. By October 1874 Smetana was, for the moment at least, completely deaf and in continuous pain.

By 18 November he had completed ‘Vysehrad’, the first symphonic poem of the cycle, which he may have started to sketch two years earlier. He immediately began work on the second, ‘Vltava’. At the same time he was completing his Czech opera Lisuge. In January he was able to begin the third symphonic poem of the cycle, Sárka, followed, in June, by ‘From Bohemia's Woods and Fields’, the last of what had been intended as a tetralogy. The success of these works persuaded him to consider continuing the cycle, which he did with ‘Tábor’, completed by December 1878, and ‘Blaník’, finally orchestrated in March 1879. The whole work was dedicated to the city of Prague. These two additional movements were well received and in 1882 there was a performance in Prague of the whole cycle, greeted by audience and critics with the greatest enthusiasm.

Vltava, the River Moldau, follows the course of the river, where two streams, one cold, one warm, join the main stream, to flow through the Bohemian countryside, its woods with huntsmen, a peasant wedding, moonlight and dancing water-spirits, the rapids of St. John, and flowing onto join the Elbe. The sound of the water provides an element of unity to music that is broadly in rondo form, with the Vltava theme, perhaps derived from a Swedish folk-song, now epitomizing the spirit of Bohemia.

The heroine Sárka, a rebel leader, seeks revenge for the infidelity of her lover. Ctirad sets out to punish her rebellion, but is trapped by her, as he finds her in apparent distress, bad to a tree. He falls in love with her but he and his men are drugged by Sárka, who now calls her rebel band together to kill Ctirad and his soldiers. Sárka's name is given to a valley near Prague, the traditional scene of these events. The introduction shows Sárka in anger, followed by the approach of Ctirad and his men. His love for Sárka is evoked in a passage marked Moderato ma con calore and the intoxication of his men is depicted in the next episode, followed by the final savage massacre. © 2014 Naxos Digital Services Ltd

For related information of the wonderful program of the Center for the Performing Arts Library Collection, please refer to http:// serv.lib.ntch.org.tw/related_catalog/index. asp?q=201412

電子問券請掃描， 支持NSO愛地球。

5︱我的祖國

自信而精銳

National Symphony Orchestra

國家交響樂團

Founded in 1986 by the Ministry of Education, the National Symphony Orchestra (NSO), also known as Taiwan Philharmonic, became the resident orchestra of the National Concert Hall and an artistic affiliate of the National Performing Arts Center in April 2014.

The orchestra has benefited from the leadership of many music directors and principal conductors, including Gerard Akoka, Urs Schneider, TsangHouei Hsu, Da-Shen Chang, Jahja Ling, Wen-Pin Chien and Güther Herbig. Since August 2010, Shao-Chia Lü has been Music Director of NSO and will lead the NSO continually to further enrich its performances and carry out its mission as the flagship of classical ensemble in Taiwan.

The NSO works regularly with internationally acclaimed musicians, including Lorin Maazel, K. Penderecki, Rudolf Barshai, Kek-Tjiang Lim, G. Schwarz, Uri Mayer, Joseph Silverstein, Leonard Slatkin, Christopher Hogwood, Christopher Poppen and many others. Tour performances were also regularly offered throughout Taiwan and in overseas, in places such as Vienna, Paris, Berlin, Singapore, Kuala Lumpur, Sapporo, Tokyo, Yokohama, Hong Kong, Guangzhou, Shanghai, Hangzhou, and Beijing.

教育部於1986 年為建立一個指標級交 響樂團投下的希望，2005年起正式成為駐國 家音樂廳團隊，2014年4月起改隸國家表演藝 術中心，目前已成為頂尖的亞洲樂團之一。樂 團歷任音樂總監/藝術顧問包括許常惠、張大 勝、林望傑、簡文彬以及赫比希，自2010年8月 起，由呂紹嘉接任音樂總監。20多年來與NSO 合作過的知名指揮家有馬捷爾、巴夏潘德瑞 茨基、史瓦茲、羅斯楚波維奇、柯米希奧納、史 拉特金等。除了精緻音樂會，NSO也製作大型 歌劇，更以各種推廣講座音樂會、節慶或戶外 音樂會，使 NSO的節目成為愛樂大眾樂於參 與的活動，形成華人地區古典音樂的新風貌。 音樂總監 桂冠指揮 助理指揮

呂紹嘉 根特•赫比希 張尹芳

第一小提琴

★ 吳庭毓 ★ 李宜錦 方俊人 黃佳頎

☆ 鄧皓敦 李庭芳

○ 陳逸群 賴佳奇

郭昱麟 林孟穎

林基弘 李家豪

梁坤豪 曾智弘

陳逸農 蔡竺君

卓曉青 余琬婷✽

第二小提琴

●

陳怡茹 ◎ 孫正玫 鍾仁甫 蔡孟峰

吳怡慧 洪章文

李京熹 陳偉泓

黃衍繹 王致翔

顧慈美 張暐姍＊

于爾恩 潘俊蓁＊

康信榮 鄭囿蓉＊

李梅箋

中 提 琴

●

黃瑞儀 ◎ 鄧啟全 陳猶白 蔡秉璋

○ 呂昭瑩 吳彥廷

黃雅琪 ▲ 袁繹晴

李靖宜 劉詩珊＊

謝君玲 蔡享享＊

劉國蘭▓ 蘇怡菱

呂孟珊

李思琪

大 提 琴

●

熊士蘭 ◎ 連亦先 唐鶯綺 曾鈺婷

○ 韋智盈 林宏霖

呂明美

周幼雯

陳怡婷

林宜女閒

黃日昇

蘇酩惠

低 音 提 琴

●

傅永和 ◎ 蘇億容

○ 周春祥

王淑瑜

黃筱清

王淑宜

連珮致

蔡歆婕

陳美君

曹予勉

▲程筑卿

游婉婷＊ 長 笛

●

短 笛 雙 簧 管

安德石 ◎ 宮崎千佳

李 浚

鐘美川 ●

英 國 管

王怡靜

◎ 阮黃松

楊舒婷

李明怡

單 簧 管

●

朱玫玲 ◎ 張凱婷

朱偉誼

低 音 管

●

簡凱玉 ◎ 陳奕秀

高靈風

倍 低 音 管

孫正茸

簡恩義

法 國 號

●

劉宜欣 ○ 黃任賢

國田朋宏

王婉如

小 號

●

宇新樂 ◎ 陳長伯

張景民

鄒儒吉

長 號

●

宋光清 ◎ 邵恆發

陳中昇

低 音 長 號

彭曉昀

低 音 號

●

宮西純▓

定 音 鼓

●

連雅文 ◎ 陳廷銓

打 擊 樂

●

陳哲輝

陳振馨

豎 琴

●

解 瑄

許淑婷

鍵 盤

▲ 許毓婷

執行長 企劃演出經理 整銷推廣經理

邱 瑗 杜佳舫 王承禹

音樂總監執行祕書 黃毓棻

廖偉強 楊璧慈

企劃演出

整銷推廣

企劃專員 吳孟珊 賴盈帆 賴曉俐 人事組長 林碧珠 譜務專員 高婉瑜 助理舞監 陳玠維 高冠勳 行政專員 溫慧雯 舞台助理 林詩祐 行政助理 沈靜宜

公關整銷專員 陳卜湄 行銷專員 林欣儀 鄭巧琪 王思懿 曾柏雄 郭玲孜 法律顧問 林信和 音樂諮詢 焦元溥 錄音製作

★樂團首席 ☆樂團副首席 ●首席 ◎副首席 ○助理首席 ▓留職停薪 ▲樂季合約人員 劃底線者為本場協演人員 ＊NSO樂團學苑學員